音乐期待诱发情绪反应的机制研究
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摘要
背景:音乐的一个重要特性是它能诱发听众的情绪反应,人们选择听音乐的首要动机也是体验或调节他们的情绪状态。Meyer(1956)指出,听众通常会对音乐的旋律、节奏、音色、和声即将发生什么产生(内隐)期待,依赖于期待的实现或违背,听众体验着放松或紧张,而期待的产生又是建立在音乐句法规则之上。迄今为止,还缺乏相关研究对音乐期待诱发的情绪反应,以及西方调式音乐中不规则句法的识别是否具有文化特异性进行证明。据此我们提出,音乐期待是否也存在于中国被试中,它在诱发音乐情绪中的作用,及其基于的句法规则加工的神经机制又是如何。
方法/主要结果:本论文包括两个研究。研究一(行为实验):选用古典钢琴奏鸣曲中,由作曲家创作的包含非预期(句法不规则)和弦的音乐片段,以及由它改编成的包含预期(句法规则)和弦和完全出乎预期(句法极不规则)和弦的音乐片段作为实验材料,这些片段分别由专业钢琴家进行富有轻重缓急地弹奏(有情绪表达)和电脑软件在速度和响度上没有任何变化地弹奏(没有情绪表达)。通过收集这些音乐诱发20名被试的主观情绪反应(以愉悦度、唤醒度和惊讶度为指标),探讨期待违背(不规则句法)对音乐情绪的作用。研究二(脑电实验):在研究一的基础上,通过采集28名被试听这些音乐时的大脑电活动(EEG),进一步考察其对音乐期待的集中焦点——句法规则进行加工的神经机制,以及情绪表达对这些加工产生的影响。主要结果如下:
①音乐期待违背可以诱发中国被试的情绪反应;
②随着音乐期待违背程度的改变,被试的情绪反应发生着系统的变化;
③中国被试可以加工西方调式音乐的句法规则,并完成和声整合加工过程;
④句法规则与和声整合加工的神经机制分别通过ERPs中的ERAN和N5成分反映;
⑤句法规则与和声整合加工同时受到情绪表达的影响。
结论/意义:本研究结果进一步证实了音乐期待在音乐诱发情绪反应机制中的根本性和普遍性地位,为中国人同样可以加工西方调式音乐的句法规则提供了证据,同时提出句法规则加工受到音乐情绪表达的影响。本研究通过对音乐诱发情绪反应的研究,为音乐治疗的有效性提供了理论基础;并通过对音乐句法规则和情绪表达的研究,为音乐治疗中更有针对性地选择音乐,提供了一定的参考。
Background: People report that their primary motivation for listening to music is its emotional effect. One of the main reasons people give for listening to music is to experience or modulate their emotional state. Meyer (1956) put forward that human listeners necessarily generate (implicit) expectations for what will occur next in melody, rhythm, timbre, and harmony. Depending on whether these expectations are fulfilled or not, listeners experience relaxation or tension. Moreover, the generation of musical expectancy is based on the music-syntax. However, there is now lack of evidence to prove whether the emotional responses induced by musical expectancy and the irregular syntax of Western tonal music recognizing are culturally specific or not. Accordingly, we raise questions of whether musical expectancy also exists in Chinese individuals, its role in musical emotions and its neural mechanisms.
Methodology/Principal results: Two researches were included in this work. In the first research (behavioural experiment), subjective response measures for valence and arousal, as well as surprise, were recorded from 20 subjects to observe the effect of expectancy violations (irregular syntax) on subjects’emotional responses of music. We chose piano sonatas with chords that were either expected (syntactically regular) or unexpected (syntactically irregular, originally arranged by composers) or very unexpected (syntactically very irregular). From the musical excerpts played by professional pianists (with emotional expression), we also created versions without variations in tempo and loudness (without musical expression) by computer. In the second research (ERP experiment), based on the first research, an electroencephalogram (EEG) was recorded from 28 subjects to further observe the neural mechanisms underlying the information focus of musical expectancy—musical syntactic processing, and the effect of musical emotional expression on these processing. Principal results of this work were as follows:
①Musical expectancy violations also induced emotional responses of Chinese subjects.
②Along with the changes of expectancy violations, the emotional responses of subjects varied systematically.
③Chinese individuals were also able to process the syntactic regularities in Western tonal music and finish the process of harmonic integration.
④The early right anterior negativity (ERAN) and N5 in ERPs were taken to reflect the neural mechanisms underlying musical syntactic and harmonic integrative processing respectively.
⑤Both the processing of musical syntax and harmonic integration were influenced by musical emotional expression.
Conclusions/Significance: The findings of this work justified the fundamental and universal role of musical expectancy in the mechanisms of musical emotions, and provided the first evidence showing that Chinese individuals were also able to process the syntactic regularities of naturalistic Western tonal music. Meanwhile, the result put forward that the neural mechanism underlying music-syntactic processing was affected by emotional expression. This work provide theoretical basis for the validity of music therapy through investigating emotional responses to music. Meanwhile, it contributes to the scientific choice of music in music therapy through investigating the music-syntax and emotional expression.
方法/主要结果:本论文包括两个研究。研究一(行为实验):选用古典钢琴奏鸣曲中,由作曲家创作的包含非预期(句法不规则)和弦的音乐片段,以及由它改编成的包含预期(句法规则)和弦和完全出乎预期(句法极不规则)和弦的音乐片段作为实验材料,这些片段分别由专业钢琴家进行富有轻重缓急地弹奏(有情绪表达)和电脑软件在速度和响度上没有任何变化地弹奏(没有情绪表达)。通过收集这些音乐诱发20名被试的主观情绪反应(以愉悦度、唤醒度和惊讶度为指标),探讨期待违背(不规则句法)对音乐情绪的作用。研究二(脑电实验):在研究一的基础上,通过采集28名被试听这些音乐时的大脑电活动(EEG),进一步考察其对音乐期待的集中焦点——句法规则进行加工的神经机制,以及情绪表达对这些加工产生的影响。主要结果如下:
①音乐期待违背可以诱发中国被试的情绪反应;
②随着音乐期待违背程度的改变,被试的情绪反应发生着系统的变化;
③中国被试可以加工西方调式音乐的句法规则,并完成和声整合加工过程;
④句法规则与和声整合加工的神经机制分别通过ERPs中的ERAN和N5成分反映;
⑤句法规则与和声整合加工同时受到情绪表达的影响。
结论/意义:本研究结果进一步证实了音乐期待在音乐诱发情绪反应机制中的根本性和普遍性地位,为中国人同样可以加工西方调式音乐的句法规则提供了证据,同时提出句法规则加工受到音乐情绪表达的影响。本研究通过对音乐诱发情绪反应的研究,为音乐治疗的有效性提供了理论基础;并通过对音乐句法规则和情绪表达的研究,为音乐治疗中更有针对性地选择音乐,提供了一定的参考。
Background: People report that their primary motivation for listening to music is its emotional effect. One of the main reasons people give for listening to music is to experience or modulate their emotional state. Meyer (1956) put forward that human listeners necessarily generate (implicit) expectations for what will occur next in melody, rhythm, timbre, and harmony. Depending on whether these expectations are fulfilled or not, listeners experience relaxation or tension. Moreover, the generation of musical expectancy is based on the music-syntax. However, there is now lack of evidence to prove whether the emotional responses induced by musical expectancy and the irregular syntax of Western tonal music recognizing are culturally specific or not. Accordingly, we raise questions of whether musical expectancy also exists in Chinese individuals, its role in musical emotions and its neural mechanisms.
Methodology/Principal results: Two researches were included in this work. In the first research (behavioural experiment), subjective response measures for valence and arousal, as well as surprise, were recorded from 20 subjects to observe the effect of expectancy violations (irregular syntax) on subjects’emotional responses of music. We chose piano sonatas with chords that were either expected (syntactically regular) or unexpected (syntactically irregular, originally arranged by composers) or very unexpected (syntactically very irregular). From the musical excerpts played by professional pianists (with emotional expression), we also created versions without variations in tempo and loudness (without musical expression) by computer. In the second research (ERP experiment), based on the first research, an electroencephalogram (EEG) was recorded from 28 subjects to further observe the neural mechanisms underlying the information focus of musical expectancy—musical syntactic processing, and the effect of musical emotional expression on these processing. Principal results of this work were as follows:
①Musical expectancy violations also induced emotional responses of Chinese subjects.
②Along with the changes of expectancy violations, the emotional responses of subjects varied systematically.
③Chinese individuals were also able to process the syntactic regularities in Western tonal music and finish the process of harmonic integration.
④The early right anterior negativity (ERAN) and N5 in ERPs were taken to reflect the neural mechanisms underlying musical syntactic and harmonic integrative processing respectively.
⑤Both the processing of musical syntax and harmonic integration were influenced by musical emotional expression.
Conclusions/Significance: The findings of this work justified the fundamental and universal role of musical expectancy in the mechanisms of musical emotions, and provided the first evidence showing that Chinese individuals were also able to process the syntactic regularities of naturalistic Western tonal music. Meanwhile, the result put forward that the neural mechanism underlying music-syntactic processing was affected by emotional expression. This work provide theoretical basis for the validity of music therapy through investigating emotional responses to music. Meanwhile, it contributes to the scientific choice of music in music therapy through investigating the music-syntax and emotional expression.
引文
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